In Moments Before the Flood, Carl De Keyzer portrayed a Europe on the cusp of drowning, flooded due to climate change. In Higher Ground, the flood has already passed. His images show people that have fled to the high mountains, depicting a fictional world of tomorrow. A large portion of the work is irony, but it bears an uncomfortably close semblance to scientific predictions of the future. In 2006, when Keyzer first began working on Moments Before the Flood, there were a lot of doubts about the extent of global warming. Since then however, the effects of this inconvenient truth have increased by an alarming degree. Where it was once presumed that the sea level would rise 37 cm by 2050, now scientists estimate that there will be a 3-to-4-metre raise. Higher Ground explores what the world might look like if this happens, encouraging the reader to think about the impact of climate change. The images were taken in Austria, Switzerland, Germany, France and Spain. French top author Philippe Claudel wrote a new fictional story especially for this book.

A century after it began, we still struggle with the terrible reality of the First World War, often through republished photographs of its horrors: the muddy trenches, the devastated battlefields, the maimed survivors. Due to the crude film cameras used at the time, the look of the Great War has traditionally been grainy, blurred, and monochrome-until now. The First World War presents a startlingly different perspective, one based on rare glass plate photographs, that reveals the war with previously unseen, even uncanny, clarity. Scanned from the original plates, with scratches and other flaws expertly removed, these oversized reproductions offer a wealth of unusual moments, including scenes of men in training, pictures of African colonial troops on the Western front, landscapes of astonishing destruction, and postmortem portraits of Belgian soldiers killed in action. Readers previously familiar with only black-and-white or sepia-toned prints of the hostilities will be riveted by the book's many authentic color photographs, products of the early autochrome method. From children playing war games to a wrenching deathbed visit, these images are extraordinary not only for their subject matter, but also for the wide range of emotions they evoke. Accompanied by a preface from celebrated writer Geoff Dyer and an essay by historian David Van Reybrouck, the photographs here serve both as remarkable witnesses to the everyday life of warfare and as dramatic works of art in their own right. These images, taken by some of the conflict's most gifted photographers, will radically change how we visualize the First World War.